the artist well-tempered clavier, book i Angela Hewitt Well Tempered Clavier - Book I bwv (1722)

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1 VANCOUVER BACH FESTIVAL 2018 tuesday july at 7:30 pm chan centre the artist well-tempered clavier, book i piano Johann Sebastian Bach ( ) Well Tempered Clavier - Book I bwv (1722) No. 1: Prelude and Fugue in C major, bwv 846 No. 2: Prelude and Fugue in C minor, bwv 847 No. 3: Prelude and Fugue in C sharp major, bwv 848 No. 4: Prelude and Fugue in C sharp minor, bwv 849 No. 5: Prelude and Fugue in D major, bwv 850 Fiazola piano acknowledgement? No. 6: Prelude and Fugue in D minor, bwv 851 No. 7: Prelude and Fugue in E flat major, bwv 852 No. 8: Prelude and Fugue in E flat minor, bwv 853 No. 9: Prelude and Fugue in E major, bwv 854 No. 10: Prelude and Fugue in E minor, bwv 855 No. 11: Prelude and Fugue in F major, bwv 856 Supported by Dr. Katherine E. Paton in association with Chan Endowment Fund at the University of British Columbia Pre-concert chat with host Matthew White at 6:45: and Ian Alexander No. 12: Prelude and Fugue in F minor, bwv 857 interval No. 13: Prelude and Fugue in F sharp major, bwv 858 No. 14: Prelude and Fugue in F sharp minor, bwv 859 No. 15: Prelude and Fugue in G major, bwv 860 No. 16: Prelude and Fugue in G minor, bwv 861 No. 17: Prelude and Fugue in A flat major, bwv 862 No. 18: Prelude and Fugue in G sharp minor, bwv 863 No. 19: Prelude and Fugue in A major, bwv 864 No. 20: Prelude and Fugue in A minor, bwv 865 No. 21: Prelude and Fugue in B flat major, bwv 866 No. 22: Prelude and Fugue in B flat minor, bwv 867 THE UNAUTHORISED USE OF ANY VIDEO OR AUDIO RECORDING DEVICE IS STRICTLY PROHIBITED No. 23: Prelude and Fugue in B major, bwv 868 No. 24: Prelude and Fugue in B minor, bwv 869 earlymusic.bc.ca Bach Well-Tempered Clavier, Book I Vancouver Bach Festival

2 Programme needs Chan ad, I assume 2 Vancouver Bach Festival 2018 Bach Well-Tempered Clavier, Book I staff@earlymusic.bc.ca

3 programme notes by angela hewitt The six years that Johann Sebastian Bach spent as Capellmeister to Prince Leopold of Anhalt-Cöthen ( ) were some of the happiest of his life. The young prince (only twenty-three years old in 1717) was a viola da gamba player of great skill and had an eighteen-piece orchestra of excellent calibre. Bach was delighted to work for someone who both loved and understood music. On taking up his new duties, Bach relinquished the composition of organ and choral music that had occupied him previously in Weimar. Only a few cantatas were composed to celebrate royal birthdays and special occasions. Cöthen was in Saxony where Calvinism predominated at the time, and there was little music in the local churches (with the exception of the Lutheran Agnuskirche where Bach worshipped and went to practice the organ). He was now expected to produce secular instrumental music, and he did so, as was his custom, with great energy and all his heart and soul. From the Cöthen period date the Brandenburg Concertos, the four orchestral Suites, the Partitas, Suites, and Sonatas for solo and accompanied violin and cello, and the French Suites for keyboard. Bach and the prince became close friends, and he often accompanied the prince on his journeys. Upon returning from a trip to Karlsbad in 1720, Bach was confounded by the news that his wife, Maria Barbara, had died and was already buried. With four children ranging from the age of five to twelve to bring up, he could not remain a widower for long, and within a year had married Anna Magdalena Wilcke (other spellings of her name being Wilcken, Wölcken, Wülcke, or Wülcken), sixteen years his junior and a fine soprano. Their marriage was celebrated on December 3, 1721, with four barrels and thirty-two carafes of wine almost a hundred litters! > One of the world s leading pianists, regularly appears in recital and with major orchestras around the world. Admitted into Gramophone s Hall of Fame in 2015, Hewitt s performances and recordings of Bach have drawn particular praise, marking her as one of the composer s foremost interpreters of our time. In autumn 2016, embarked on a major project entitled The Bach Odyssey, which comprises performances of all of Bach s keyboard works in twelve recitals over the next four years. Hewitt will present these performances in major cities and venues around the world including London s Wigmore Hall, New York s 92nd Street Y, Ottawa s National Arts Centre, as well as in Tokyo and Florence. Other recent recital highlights include performances at the Vienna Konzerthaus, Birmingham Town Hall, Bath Mozartfest, Rotterdam s De Doelen, Sociedad Filarmonica de Bilbao, and a tour of Australia with Musica Viva. In summer 2015, Hewitt was resident at Shakespeare s Globe in London. also performs as a soloist with orchestra including recent engagements with the Baltimore Symphony and Winnipeg Symphony orchestras, the Duisburger Philharmoniker, Orchestre symphonique de Montréal, and the National Arts Centre Orchestra, Ottawa, the Toronto Symphony and Washington s National Symphony Orchestra, and an Asian tour with the Academy of St Martin in the Fields and Sir Neville Marriner. Hewitt directed the Festival Strings Lucerne from the keyboard at Munich s Gasteig, and in spring 2017 toured the UK with Vienna s Tonkünstler Orchestra. s award-winning recordings have garnered praise from around the world. Her recording of Bach s Art of Fugue was released in 2014, and her ten-year project to record Bach s major keyboard works for Hyperion has been described as one of the record glories of our age (The Sunday Times). Hewitt s most recent releases include her sixth volume of Beethoven s sonatas, a new recording of Bach s Goldberg Variations, and Messiaen s Turangalîla Symphony with the Finnish Radio Symphony Orchestra and Hannu Lintu. A first album of Scarlatti Sonatas was released in spring Her discography also includes CDs of Mozart, Schumann, Couperin and Rameau. Born into a musical family, began her piano studies aged three, performing in public at four and a year later winning her first scholarship. She studied with Jean- Paul Sévilla and won the 1985 Toronto International Bach Piano Competition. Hewitt was appointed Officer of the Most Excellent Order of the British Empire in the Queen s Birthday Honours in 2006 and was made a Companion of the Order of Canada in She lives in London but also has homes in Ottawa and in Italy, where she is Artistic Director of the Trasimeno Music Festival. earlymusic.bc.ca Bach Well-Tempered Clavier, Book I Vancouver Bach Festival

4 As his duties at court were not totally time-consuming, Bach was able to devote himself to the musical education of his family. In 1720, when his eldest son Wilhelm Friedemann was nine years old, he presented him with a notebook in which they began to compile pieces that contain, among other things, first drafts of what we know today as the Little Preludes, the Two- and Three-Part Inventions, and eleven of the first twelve Preludes from The Well-Tempered Clavier. It was always Bach s aim to develop musical intelligence from the very beginning, along with technique something which is often overlooked today. Many of the pieces in the Clavierbüchlein are in Wilhelm Friedemann s own hand, as he was undoubtedly learning how to compose. It is impossible to give exact dates of composition of many of Bach s works, as they were often compiled from alreadyexisting material. In the case of The Well-Tempered Clavier Book I, Bach wrote the date 1722 on the title page of the fair copy: The Well-Tempered Clavier or Preludes and Fugues through all the tones and semitones including those with a major third or Ut Re Mi as well as those with a minor third or Re Mi Fa. For the profit and use of musical youth desirous of learning and especially for the pastime of those already skilled in this study composed and prepared by Johann Sebastian Bach at present Capellmeister to His Serene Highness the Prince of Anhalt-Cöthen, and director of His Chamber Music. Anno To satisfactorily explain the adjective well-tempered is to tread on dangerous ground. Treatises have been written on the subject, and even today the debate continues. Tuning a keyboard instrument always has to be a compromise, because the intervals of a perfect fifth and a perfect third are incompatible with each other and with a pure octave. In Bach s day, the common practice was to use the mean tone system, which retained the purity and sweetness of the major third. This meant, however, that it was impossible to play in all twenty-four keys because of errors that would occur in the more remote ones. As musicians became more and more dissatisfied with these restrictions, they turned to equal temperament which favours the interval of a perfect fifth, and which makes each key tolerable (although inevitably one can argue that much is lost by making everything uniform, especially as regards the character of each key). In between these two systems there can be many modifications, and it is thought that Bach must have used his own method of tuning. The only, rather vague, testimony we have on the subject comes from his obituary, written by his son C.P.E. Bach and his pupil J.F. Agricola, where it states that: In the tuning of harpsichords he achieved so correct and pure a temperament that all the keys sounded pure and agreeable. He knew no keys which, because of impure intonation, one must avoid. In 1715 Johann Caspar Fischer had composed a set of preludes and fugues in twenty different keys called Ariadne Música. Four years later, Johann Mattheson wrote a user s manual in figured-bass playing that gave two examples in each of the twenty-four keys. It was left to Bach, however, to give us the first real music in keys like C-sharp Major and E-flat minor. Twenty-two years later, in 1744, he compiled another twentyfour preludes and fugues to complete what is now known as the 48. It is an inexhaustible treasure trove of the greatest possible music, combining contrapuntal wizardry with his immense gift for expressing human emotion in all its forms. Bach amazes us by absolutely never running out of steam. In The Well-Tempered Clavier, we find a piece to suit every mood and every occasion. In Bach s time the word clavier did not denote any keyboard instrument in particular, but meant harpsichord, clavichord, spinet, virginal, or even the organ. An inventory taken at the time of his death lists many different instruments, but gives no details beyond their size and value. Bach reportedly preferred the clavichord for its ability to produce shadings and even vibrato, although surely its extreme delicacy must have made anything but the quietest pieces rather frustrating. Perhaps for this reason, Bach s friend, the great organ and harpsichord builder Gottfried Silbermann, set about working on a fortepiano (following the first attempt at one by Cristofori), which Bach tried before his death. It is said that he found it interesting, but weak in the high register and too hard to play (complaints often voiced by pianists today about some modern grands!). His music requires great sprightliness, clarity, rapidity, warmth, strength, and subtle shadings that have to be matched by both instrument and player. If Bach s music sounds wrong on the piano, then surely most of the blame must lie with the pianist. The instrument itself is, I find, ideal, as it can be made to sing and dance as Bach demands. The difficulty is in making it sound easy. Abridged programme notes by 2007, from liner notes for the CD, Bach: The Well-Tempered Clavier (Das Wohltemperirte Clavier), Hyperion Records. The complete notes are available at earlymusic.bc.ca/events/well-tempered-clavier-1-angela-hewitt 4 Vancouver Bach Festival 2018 Bach Well-Tempered Clavier, Book I staff@earlymusic.bc.ca

5 "The Fazioli is a very creative piano, it really lets you do all that your imagination wants to do. It has a huge range of colour, from the most powerful sounds to the most delicate sounds which are all produced with great ease. It is my most precious possession!" ~ Concert Pianist earlymusic.bc.ca Bach Well-Tempered Clavier, Book I Vancouver Bach Festival